The Diary of A Madman （Kuangren r/j/）, Lu Xun＇s first well-known short stoW and the alleged first modem short stow in vernacular Chinese, is famous for its first-person narrative by an intellectual that is sufferin...The Diary of A Madman （Kuangren r/j/）, Lu Xun＇s first well-known short stoW and the alleged first modem short stow in vernacular Chinese, is famous for its first-person narrative by an intellectual that is suffering from a persecution complex. As acknowledged by Lu Xun himself and argued by most scholars, this short stoW was influenced by Gogol＇s homonymic short stow, but has developed more profound melancholy and indignation. However, as my paper demonstrates, this perspective neglects the role of Japan as an intermediary in the transculturation of madness. First, Lu Xun＇s initial encounter with Gogol＇s Diary of A Madman was through his reading of Futabatei Shimei＇s translation in the Japanese magazine Ky6mi. Second, the framed narrative and contrasting styles of Lu Xun＇s short stow, which are not features of Gogol＇s, might also be due to the inspiration from the Japanese genbun itchi movement in the Meiji period. Third, and most importantly, cannibalism, a major theme in Lu Xun＇s Diary of A Madman, was arguably shaped by the heated discussion in Japan on national character and cannibalism. My paper will trace the double origin of the depiction of madness and cannibalism in Lu Xun＇s work and illustrate the importance of the role of Japan in the transculturation of the stow of a madman.展开更多
Critics have observed that memory is an important theme in Lu Xun＇s writings. At the same time, memory--more precisely a struggle over the shaping of cultural memory--is a vital component of the iconoclastic May Four...Critics have observed that memory is an important theme in Lu Xun＇s writings. At the same time, memory--more precisely a struggle over the shaping of cultural memory--is a vital component of the iconoclastic May Fourth Movement with which Lu Xun is strongly associated. This article examines the ways in which several of Lu Xun＇s creative writings and memoirs depict memory and its transmission. I argue that, 1） These texts suggest the importance of objects as mnemonic devices that aid the transmission of memory, 2） The agency of the receiver is key in interpreting these texts and in transmitting them onward, and 3） That Lu Xun posits the texts he creates as such mnemonic objects that serve to transmit his interpretation of cultural and personal memory to his readers. Lu Xun＇s texts thus implicate the reader in the author＇s project of transmitting onward his reinterpretation of the past in the hope of redeeming China. Examining these mechanisms of memory transmission I conclude that for Lu Xun redemption lies not in a transcendent future but in reexamining the past.展开更多
文摘The Diary of A Madman （Kuangren r/j/）, Lu Xun＇s first well-known short stoW and the alleged first modem short stow in vernacular Chinese, is famous for its first-person narrative by an intellectual that is suffering from a persecution complex. As acknowledged by Lu Xun himself and argued by most scholars, this short stoW was influenced by Gogol＇s homonymic short stow, but has developed more profound melancholy and indignation. However, as my paper demonstrates, this perspective neglects the role of Japan as an intermediary in the transculturation of madness. First, Lu Xun＇s initial encounter with Gogol＇s Diary of A Madman was through his reading of Futabatei Shimei＇s translation in the Japanese magazine Ky6mi. Second, the framed narrative and contrasting styles of Lu Xun＇s short stow, which are not features of Gogol＇s, might also be due to the inspiration from the Japanese genbun itchi movement in the Meiji period. Third, and most importantly, cannibalism, a major theme in Lu Xun＇s Diary of A Madman, was arguably shaped by the heated discussion in Japan on national character and cannibalism. My paper will trace the double origin of the depiction of madness and cannibalism in Lu Xun＇s work and illustrate the importance of the role of Japan in the transculturation of the stow of a madman.
文摘Critics have observed that memory is an important theme in Lu Xun＇s writings. At the same time, memory--more precisely a struggle over the shaping of cultural memory--is a vital component of the iconoclastic May Fourth Movement with which Lu Xun is strongly associated. This article examines the ways in which several of Lu Xun＇s creative writings and memoirs depict memory and its transmission. I argue that, 1） These texts suggest the importance of objects as mnemonic devices that aid the transmission of memory, 2） The agency of the receiver is key in interpreting these texts and in transmitting them onward, and 3） That Lu Xun posits the texts he creates as such mnemonic objects that serve to transmit his interpretation of cultural and personal memory to his readers. Lu Xun＇s texts thus implicate the reader in the author＇s project of transmitting onward his reinterpretation of the past in the hope of redeeming China. Examining these mechanisms of memory transmission I conclude that for Lu Xun redemption lies not in a transcendent future but in reexamining the past.
